Aerial Domesticity

Public Machineries



The work raises 3 states, intervention, performance and disappearance.

The rules are as follows:

There is no investment in infrastructure, the materials and components come from the construction industry, household items come second-hand (from craig list platforms) or from the tradition of local manufacturing, whether it is borrowed or donated.

The work does not cost, it costs the effort. Everything comes from the industry and the obsolescence.

Public machinery belongs to the series of portable scenographies that proposes hybrid street appropriation, domestic coreoggraphies driving by civic society on public affairs.

The work intercepts art, architecture, design, engineering, performance and chronicle as a collaborative action platform. It is an exercise in social criticism of a cooperative nature that uses the city as an  experimental urban laboratory for public art.

It is built on machines, the construction machinery becomes a living space, it is built with what it builds. It is built on machines, the construction is inhabited. They are semantic interference exercises that ask questions to power. The works are instantaneous empowerment infrastructures, disobedient assemblies that develop a hybrid energy between the machine and human power. It is an installation that asks questions about the idealization of the modern domestic space, the ways of living in contemporary society, the policies of mass housing and the democratization of urban land. It is a semiotic device, a critical artifact. A political apparatus. A civic platform of public denunciation that makes visible, shows, warns, records and exposes the domestic, private, everyday and individual.

This 3rd intervention of the series public machines / portable choreography specifically reconstructs the domestic in a complex urban setting. Resuming research such as Cushicle and Suitalone by Michael Webb (Archigram / 1967), speculations such as Wolke or The Cloud the Coop Himmelblau (Living form for the future / 1968)  and “Oasis Nr. 7” from Viennese studio Haus-Rucker-Co (DOCUMENT /1972).

Exposes domestic identities through a performance of Mexican everyday questioning the horizontal property and the value of urban land. It exposes this everyday life from domestic objects or domesticity from everyday objects. The common objects of Mexican housing and forms of occupation, customs, myths and hybrid forms of contemporary life. It shows these common elements extracted from their contexts and presents them in the public sphere. Check and raise awareness of where these objects come from, the domestic and utilitarian value that they print to the space, even to a minimum, and how they fit the components of the house (to room, living room, bathroom, patio, terrace) and reconfigure the dynamics.

The platforms also indicate the equivalent in area with respect to the cost of a square m2 of the real estate market of a house after the earthquake. There is no space available, nothing left over, from the spatial specificities to the programmatic plurality. Cubic meters versus square meters.

The machines provide as many configurations of the apartment as its technical instruments and performance allow. A bathroom is attached to a living room, a garden to a bedroom, or all are given in one: a dining room, a terrace, a balcony

The dining room is a space to watch TV and do homework, the grandmother watches the novel, the clothes are washed in the shower. The clothes are iced in the sun. The machine copy latino american social behavior and provide support for forms of domesticity.

There are many apartments and they are none. The installation is a minimal apartment assembled
by autonomous, independent, flexible, incomplete, disobedient domestic cells. They are associated in an intermittent and sometimes random choreography

The plant and section are dynamic and describe an ascending, zigzagging or alternating ritual.

The performance mirrored domestic patterns. There are no conditional ways of living, nor models of inhabiting taxes, nor the European Scandinavian furniture nor the North American family room have room for the least, the emergent, the resilent. Indian backpack, they are Mexican fetishism. At the same time that it explores and exposes intimacy, it becomes an inventory of attachment, an itinerary of everyday life.



Alejandro Haiek Coll

Of Pubic Machinery

Developing and Fabrication:

Alejandro Tapia


Project Team:

Irina Urriola

Lab.Pro.Fab / The Public Machinery

Project Team:

Cristian Hernández


General Coordination

Armando Quintana


Heini Hölsenbaud


Wendy Cabrera

special Thanks to



Prosic /

Huerto Roma Verde /

Utilitario Mexicano